STONE BAROMETER.
A Finland newspaper mentions a stone in the northern part of Finland, which serves the inhabitants instead of a barometer. This stone, which they call Ilmakiur, turns black, or blackish gray, when it is going to rain, but on the approach of fine weather it is covered with white spots. Probably it is a fossil mixed with clay, and containing rock-salt, nitre, or ammonia, which, according to the greater or less degree of dampness of the atmosphere, attracts it, or otherwise. In the latter case the salt appears, forming the white spots.
BITTERNESS OF STRYCHNIA.
Strychnia, the active principle of the Nux Vomica bean, which has become so famous in the annals of criminal poisoning, is so intensely bitter that it will impart a sensibly bitter taste to six hundred thousand times its weight of water.
SALT, AS A LUXURY.
Mungo Park describes salt as “the greatest of all luxuries in Central Africa.” Says he, “It would appear strange to a European to see a child suck a piece of rock-salt, as if it were sugar. This, however, I have frequently seen; although in the inland parts the poorer class of inhabitants are so very rarely indulged with this precious article, that to say a man eats salt with his victuals is the same as saying that he is a rich man. I have myself suffered great inconvenience from the scarcity of this article. The long-continued use of vegetable food creates so painful a longing for salt, that no words can sufficiently describe it.”
SINGULAR CHANGE OF TASTE.
The sense by which we appreciate the sweetness of bodies is liable to singular modifications. Thus, the leaves of the Gymnema sylvestre,—a plant of Northern India,—when chewed, take away the power of tasting sugar for twenty-four hours, without otherwise injuring the general sense of taste.
BLUNDERS OF PAINTERS.
Tintoret, an Italian painter, in a picture of the Children of Israel gathering manna, has taken the precaution to arm them with the modern invention of guns. Cigoli painted the aged Simeon at the circumcision of the infant Saviour; and as aged men in these days wear spectacles, the artist has shown his sagacity by placing them on Simeon’s nose. In a picture by Verrio of Christ healing the sick, the lookers-on are represented as standing with periwigs on their heads. To match, or rather to exceed, this ludicrous representation, Durer has painted the expulsion of Adam and Eve from the Garden of Eden by an angel in a dress fashionably trimmed with flounces. The same painter, in his scene of Peter denying Christ, represents a Roman soldier very comfortably smoking a pipe of tobacco. A Dutch painter, in a picture of the Wise Men worshipping the Holy Child, has drawn one of them in a large white surplice, and in boots and spurs, and he is in the act of presenting to the child a model of a Dutch man-of-war. In a Dutch picture of Abraham offering up his son, instead of the patriarch’s “stretching forth his hand and taking the knife,” as the Scriptures inform us, he is represented as using a more effectual and modern instrument: he is holding to Isaac’s head a blunderbuss. Berlin represents in a picture the Virgin and Child listening to a violin; and in another picture he has drawn King David playing the harp at the marriage of Christ with St. Catherine. A French artist has drawn, with true French taste, the Lord’s Supper, with the table ornamented with tumblers filled with cigar-lighters; and, as if to crown the list of these absurd and ludicrous anachronisms, the garden of Eden has been drawn with Adam and Eve in all their primeval simplicity and virtue, while near them, in full costume, is seen a hunter with a gun, shooting ducks.